thegreatadventure2015 decoration

a conversation with Bec Brittain

... "The growth of crystals in entirely compelling to me – growth in a non-living thing is absolutely amazing! Moreover, it's fascinating the way each mineral has its specific growth structure which is consistent, yet depending on environmental variables each specimen is unique. " - Bec Brittain <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7142/6679864849_8402befc8c_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7142/6679864849_8402befc8c_b.jpg" style="cursor: pointer; display: block; height: 905px; margin: 0px auto 10px; text-align: center; width: 700px;" /></a></div><div style="color: #999999; font-style: italic; text-align: center;"> Bec Brittain's "the SHY Polyhedron light " </div> Bec Brittain's latest sculptural lighting work "the SHY Polyhedron light " will be part of <a href="http://www.maison-objet.com/" style="font-weight: bold;">MAISON- OBJECT</a> in Paris at American Design in Paris, presented by<a href="http://www.triodedesign.com/triode.htm" style="font-style: italic;"> Triode Design</a>, opening this week, January 22nd. For those in Paris for Maison, visit this collection of American Designers, pushing design + objects into the future. When in conversation with Bec Brittain about her latest work, she told me that "the Polyhedron brings a few ideas to the SHY light system that I hadn't played with before. The lights begin as a burst in the center, as opposed to only forming the perimeter, a burst of brightness." The more I stare into her works, the more I get lost in their subtle, shape-shifting geometry. Pulsating light lines, bringing to mind <a href="http://fredsandbackarchive.org/">Fred Sanback's yarn works</a>, Brittain's pieces are elegant-light drawings in the sky, collecting the energy of the room, full of purpose and intent. Bec Brittain is currently working on an as yet unnamed piece (in-house it's called mirror crystal), which utilizes a 2-way mirror. "It's a polyhedron, which when the lights are off it reflects it's surroundings, but once you turn it on there is an infinity affect and you can see through to the many dots of light." This piece will be debuting that at the <a href="http://www.archdigesthomeshow.com/">Architectural Digest Home Show</a> in New York, March 22-25. - David John <a href="http://farm8.staticflickr.com/7023/6679865433_9d7f67c38d_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7023/6679865433_9d7f67c38d_b.jpg" style="cursor: pointer; display: block; height: 874px; margin: 0px auto 10px; text-align: center; width: 700px;" /></a> How did you become interested in LED? "The quality of light", and why your attraction to working in this source? The interest was actually first with fluorescent light; I became really taken by the idea that we were surrounded by these beautiful white lines, yet they had been relegated to the most banal and industrial applications. I wanted to break them out of that role. After much research, and an initial fluorescent prototype, their technical limitations made themselves quite clear; the LEDs are so nice to work with by comparison – the wiring isn't so complicated. Right now is such a curious time for lighting technology, there are so many concerns: energy efficiency, quality of light, longevity of design, and many times they are in conflict. My first priority is to try to design things that can be passed on to grandchildren, which requires trying to design for future change. My current solution is to always make sure you can change the light bulb; I hope that this allows not only for burnt-out bulbs to be replaced, but also outdated light bulbs to be updated. A lot of LED lights don't allow for it, and I think in 20 years we're going to have a bunch of light fixtures in the trash. As for light quality, I think it's going to be really interesting how things move forward. LED technology is improving daily in terms of its quality of light. But I also think there's a real possibility of our eyes and our tastes adapting to new kinds of light. I wonder to myself if we're all going to begin to like different colors because of how they appear under new light.... Why do you call it the Shy Light? My grandmother is a complete inspiration – she has always had a great eye, and continues to do so past 90. She helped brainstorm about the piece, so I thought it only right to give it her initials, SHY, for Sarah Hitchcock Yerkes. <a href="http://farm8.staticflickr.com/7155/6679865867_8e8103008b_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7155/6679865867_8e8103008b_b.jpg" style="cursor: pointer; display: block; height: 558px; margin: 0px auto 10px; text-align: center; width: 698px;" /></a> How did the idea for the LED lamps come about? Can you talk about your process, how you are able to conceptualize, all the way to production? The SHY light was a nice confluence of the long tubular bulbs lending themselves to make these faceted forms which had been stirring around in my head for a while. For any design there are any number of tools I use, and I just try to find the quickest one for the task at hand. I made a ton of sketch models, using tubes and wire and plasticine, to test the overall shape. The first prototype was made with as many ready-made parts as possible, machining just one custom piece. I have continued to improve it in iterations, refining and making new hardware bit by bit. I suppose I'm a bit impatient and need to see the thing in front of me as soon as I can; I certainly prefer improving iterations of something to trying to get it perfect in the computer before doing anything. You can learn so much in the in-between steps. Is there are connection between your work and<a href="http://lindseyadelman.com/"> Lindsey Adelman's</a> work? How has she influenced your work, and what has it been like working with her? It's so hard to say how mine and<a href="http://lindseyadelman.com/" style="font-weight: bold;"> Lindsey's work</a> are connected; I'm so close to both things, I'm not sure I have the best perspective on the final products and their relationship. What is much clearer to me is the process. When I began working with Lindsey I was trying to decide where to put my focus; I have always been connected to the making of things, but I just hadn't found the right fit in terms of how to try and make a living at it. The 2 most important things I learned from Lindsey Adelman are: 1. You can be a product designer and not make mass-produced items. Instead you make relatively few pieces, mostly by hand, and they will be appreciated by the client. 2. Relax about something being perfect the first time out. She continues to change and improve her pieces as certain issues pop up. There's a nice balance between making it the best you can at the time and understanding that you can always make it better. My description of how I made the SHY light in iterations is definitely influenced by this attitude. You were the Lead Designer at architecture firm<a href="http://work.ac/"> WORK AC, </a>and then shifted focus to design luxury door hardware for manufacturer H. Theophile. Currently, you are Design Director at Lindsey Adelman Studio while also building your own practice in product design. Why have you shifted from architecture to product design? I began studying product design at Parson's in undergrad, and it was ultimately completely unsatisfying. At the time there was such a focus on mass production and saving resources in the production of the piece (flat-packing to save warehouse space, etc.), but there was no focus placed on the idea that something that will last 150 years will be more environmentally and economically sound than the 20 throw-away tables that you could have instead. I felt very outside what I understood to be the product design world. I left that program, and received a philosophy degree before getting the architecture degree; I used both of those degrees to try to solve this issue I had of wanting to make things but not feeling right about putting more stuff into the world. I tried a bit of architecture, a little furniture design, and some hardware. I think it was partly growing up and having more experience, as well as seeing some other product design practices that I admired, which threw me back into what I had wanted to do when I was 18. I also discovered I really like metal. 3 things we might never guess about you? Don't we all need a bit of mystery? (yes!) You speak of a more gradual appreciation of a larger idea. What larger ideas is your work moving towards? The larger idea is specific to each piece. In the case of SHY, my interest in crystalline structures is really at the heart of it. The growth of crystals in entirely compelling to me – growth in a non-living thing is absolutely amazing! Moreover, it's fascinating the way each mineral has its specific growth structure which is consistent, yet depending on environmental variables each specimen is unique. SHY is constructed similarly, in that the hardware sets certain structural rules, yet it can be put together in a number of different ways. <a href="http://farm8.staticflickr.com/7161/6679866759_a6b8d1df85_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7161/6679866759_a6b8d1df85_b.jpg" style="cursor: pointer; display: block; height: 458px; margin: 0px auto 10px; text-align: center; width: 698px;" /></a> <a href="http://www.becbrittain.com/">Bec Brittain</a> was born in Washington, DC in 1980, Bec Brittain studied industrial design at Parsons, earned a BA in philosophy from New York University, followed by an architecture degree from The Architectural Association in London. Brittain's work experience has been similarly varied as her education. She was Lead Designer at architecture firm <a href="http://work.ac/">WORK AC</a> then shifted focus to design luxury door hardware for manufacturer H. Theophile. Currently, she is Design Director at Lindsey Adelman Studio while also building her own practice in product design. Bec Brittain's work is at <a href="http://mattermatters.com/">MATTER</a> in New York.....and <a href="http://www.twentieth.net/">TWENTIETH </a>in Los Angeles. -------------

a conversation with Bec Brittain

... " The growth of crystals in entirely compelling to me – growth in a non-living thing is absolutely amazing! Moreover, it...

11:08 AM

Rose Tarlow

. “(she) balances emotion and intellect as well as any designer now living … her rooms [combine] sensual pleasures with geometric rigor, and every one of them is simultaneously a lesson in design and a lesson in living.” - Paul Goldberger on Rose Tarlow <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7155/6690318951_7b1556e3f2_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7155/6690318951_7b1556e3f2_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 701px; height: 702px;" /></a></div><div style="text-align: center;">"Buttercup Pendant" : dark rusty distressed iron finish with resin sleeve. </div> What is perfection, anyhow? In a recent article I read on Rose Tarlow, a Los Angeles based designer, she mentioned that 20 years ago, an ivy vine meandered through a crack in her home's window. 20 years later, the vine cascades down the walls, a testament to time passing. Stories like this leave a permanent imprint in my mind on "imperfection" and design. For Rose, homes should be imperfect, calm, and strive to be unpretentious. Stories are told, and as the years pass, her work takes a deeper effect on my own design work. Designers such as Rose Tarlow and Ilse Crawford (to simply name a few) push simplicity, history, and elegance to a new height in their work. Utilizing recognizable forms, allowing the rooms to take on their own life, as if the rooms had always been there, (this is no easy feat friends.) Masters at work. - David John <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7029/6690409473_9d144ef85a_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7029/6690409473_9d144ef85a_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 699px; height: 704px;" /></a></div><div style="text-align: center;"> "Blotto Desk" : French Ash Veneer with six drawers in medium wood stain </div> “I am a solitary person. I like working alone and making my own design decisions. I have an obsession for buying lovely things, so I occasionally consult on building a collection of antiques and art.” <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7027/6690342559_86271a4a2a_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7027/6690342559_86271a4a2a_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 701px;" /></a></div><div style="text-align: center;"> "Chinese Ceramic Jar Lamp" - Original Brown Round shouldered, ceramic in original brown finish. </div> <a href="http://rosetarlow.com/index.php"> Rose Tarlow</a><a href="http://rosetarlow.com/index.php"> </a>is one of the most influential designers working in America today. She founded her company more than 30 years ago on once-secluded Melrose Place and has built a reputation for the finest furniture, textiles and accessories ever since. Working with local craftsmen who share her impeccable standards for the highest quality, Tarlow knows that creating a truly beautiful room is as much an emotional matter as it is one of color, light and products. As an internationally-renowned furniture and fabric artisan, interior designer, antiquarian and author, her creations have enchanted the design community. According to New Yorker architecture critic Paul Goldberger, Tarlow “balances emotion and intellect as well as any designer now living … her rooms [combine] sensual pleasures with geometric rigor, and every one of them is simultaneously a lesson in design and a lesson in living.” All the products are offered through the company’s flagship on Melrose Avenue in Los Angeles, and are represented by the finest multi-line designer trade showrooms across the country. "<a href="http://rosetarlow.com/pdfs/1267814859RTMHNYCrelease3110.pdf"> (text taken from here)</a> <a href="http://rosetarlow.com/index.php" style="font-weight: bold;"> visit Rose Tarlow house here..</a> <a href="http://www.thestylesaloniste.com/2009/10/designer-i-love-rose-tarlow-rose-tarlow.html">Read a piece on Rose Tarlow on Style Saloniste here..</a> <a href="http://www.nytimes.com/2001/12/06/garden/perfect-taste-and-a-client-list-to-prove-it.html">Also, in the NY TIMES here...</a> --------------

Rose Tarlow

. “(she) balances emotion and intellect as well as any designer now living … her rooms [combine] sensual pleasures with geometric rigor , ...

8:29 AM

A conversation with Peter Klick

Since basements usually have only a few windows, if any, they are great spaces to design. As if to design in a shoe box…"<a href="http://www.peterklick.com/">- Peter Klick of Klick Interiors</a><a href="http://www.peterklick.com/"> </a><div style="text-align: center;"><a href="http://farm8.staticflickr.com/7144/6660523387_3453fb2016_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7144/6660523387_3453fb2016_b.jpg" style="cursor: pointer; display: block; height: 426px; margin: 0px auto 10px; text-align: center; width: 702px;" /></a></div><div style="text-align: center;"> a drawing for the H51 residence in Zurich, by Peter Klick</div> Decoration can be a state of mind, an unusual perception, a ritual whisper. - Ettore SottsassWhy can't we be ourselves like <a href="http://www.youtube.com/watch?v=7uEBuqkkQRk">we were yesterday?</a> - New Order Peter Klick's H51 project in the Zurich suburbs, which started about 34 years ago, and completed in 1990, continues to push design boundaries 35 years later. Recently, we are witnessing a strong resurgence of Postmodernism. Recent exhibitions of <a href="http://www.vam.ac.uk/content/exhibitions/postmodernism/" style="font-style: italic; font-weight: bold;">PostModernism at the V of A</a>, Style and Subversion 1970-1990, and a new generation of designers discovering the works of Sottsass, Pesce, etc, brings a new light and shadow to projects such as Klick's H51 project. Sottsass' design has gained strength and validation from the auction market in the last years, as his prices have soared to all time highs, as in the recent <a href="http://www.lamodern.com/featured-artists/ettore-sottsass/">LAMA Auction</a> last year.For Klick, he notes <a href="http://www.gaetanopesce.com/">Gaetano Pesce</a>, <a href="http://www.nytimes.com/2008/01/01/arts/01sottsass.html">Ettore Sottsass,</a> and <a href="http://www.hayonstudio.com/home.php">Jaime Hayon</a>, a contemporary Spanish designer, as some of his greatest influences. Klick's interiors utilize a complex color palette with confident sculptural forms to tell a distinct narrative of design, that references Italian/ French design, while also telling his own personal story of design. When I asked Peter Klick to name a few of his favorite designers, he gave me a long list of inspired designers that included: Bram Boo, Maarten Baas, Mario Gamper, Jaime Hayon, Matteo Thun, Ettore Sottsas, Gaetano Pesce, Alessandro Mendini, Gae Aulenti, Arne Quinze, Marten Baas, Patricia Urquiola, Hans Wegner, Paola Lenti, Annet van Egmond, Achille Castiglioni, Michele De Lucchi, Andrea Branzi, Verner Panton, Hella Jongerius, Gam/Fratesi ... Are you ready to tour H51? <a href="http://farm8.staticflickr.com/7152/6649772035_bfc190a9f0_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7152/6649772035_bfc190a9f0_b.jpg" style="cursor: pointer; display: block; height: 473px; margin: 0px auto 10px; text-align: center; width: 703px;" /></a> Welcome to H51: The Pink Guest Room Peter: Oh yes,…it was for a young family with 2 children. They had a nice house in the Zurich suburbs, Switzerland. It had a view to the mountains, and on a clear day you could see the Alps. The house had 3 bedrooms and 3 bathrooms, an indoor pool, a home theater / play room, and a large unused basement. It lacked a proper guestroom, or room for the nanny who would be watching the children. I already worked on some rooms in the house, so they simply asked me: Can you do something interesting with this space? "Sure I can," I replied. Since basements usually have a few windows, if any, they are great spaces to design. As if to design in a shoe box. But how to design a space for their daughter, a girl in a basement, that she likes, and feels safe. That was the challenge!In the basement we did not have a view to the mountains; so the idea was to try to replace it with the forms of the walls, roofs, tables and the back of the bed. Also a roof over the bed feels safe and cozy. From inside, the illuminated, pink, translucent painted Plexiglas columns are holding the roof with is also holding 50watt halogen spots. The colors pink and grey have a low contrast which makes the space feel larger. <a href="http://farm8.staticflickr.com/7033/6660491831_b38798950c_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7033/6660491831_b38798950c_b.jpg" style="cursor: hand; cursor: pointer; display: block; height: 805px; margin: 0px auto 10px; text-align: center; width: 1024px;" /></a> Peter: The master bedroom is located behind the kitchen. The remodeling of the kitchen, dining and living area, as well as the master bedroom became a major project because we eliminated some structural walls. The master bathroom is between the Bedroom and Kitchen, with dark blue tiles from floor to ceiling, walk in shower and whirlpool bathtub. The bedroom has a dark blue carpet, a walnut dresser and a large closet with mirrored sliding doors.Illuminated by Standing lamps from Salvador Dali: Cajones and Black label from <a href="http://www.bdbarcelona.com/" style="color: rgb(0, 0, 102);">BD Barcelona</a>. The family has a lot of guests with sit down dinners, so, the concept was to avoid a large living room area with sofas and TV, and to upgrade the dining room area with a larger table which provided more comfortable seating. The kitchen with a bar for aperitifs, and breakfast for the kids, and in the basement, a home theater with a pool table. <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7011/6649772955_5f1588d58e_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7011/6649772955_5f1588d58e_b.jpg" style="cursor: pointer; display: block; height: 472px; margin: 0px auto 10px; text-align: center; width: 704px;" /></a></div> Office: Andrea Branzi's Amnesia shelf from Design Gallery, Milan, Gaetano Pesce's Green Street Chair for Vitra, Alessndro Mendini's Chair, and a custom designed desk by Peter Klick<div style="text-align: center;"> </div> <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7163/6649772199_d6d7b06737_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7163/6649772199_d6d7b06737_b.jpg" style="cursor: pointer; display: block; height: 892px; margin: 0px auto 10px; text-align: center; width: 704px;" /></a></div><div style="color: #666666; text-align: center;"> Ron Arad's custom bar for H51 </div>Peter: After completion of the project, they did not like my walnut bar very much. At the time we went to Salone in Milan and discovered the organically shaped bar with bays to sit in from Ron Arad. He did this beautiful bar for the <a href="http://www.stratocucine.com/" style="font-weight: bold; color: rgb(102, 0, 0);">Strato showroom </a>in Milan, so I contacted Ron Arad and asked him if he would design and produce a bar like this for us. I took the dimensions in Zurich, he designed it in London and Marzorati Ronchetti procured it in Cantu, Italy and they installed it in Zurich. <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7024/6653745503_13943c4e19_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7024/6653745503_13943c4e19_b.jpg" style="cursor: hand; cursor: pointer; display: block; height: 736px; margin: 0px auto 10px; text-align: center; width: 1024px;" /></a></div> <div style="text-align: center;">Indoor Pool: "the stones and boulders to give the pool a more outdoor feeling." <div style="text-align: left;">"It is important to realize that whatever we do or design has iconographic references, it comes from somewhere; any form is always metaphorical, never totally metaphysical; it is never a 'destiny' but always a fact with some kind of historical reference. - Ettore Sottsass </div></div> <div style="text-align: center;"><a href="http://farm8.staticflickr.com/7159/6653744703_6dc851c2ac_b.jpg"><img alt="" border="0" src="http://farm8.staticflickr.com/7159/6653744703_6dc851c2ac_b.jpg" style="cursor: hand; cursor: pointer; display: block; height: 746px; margin: 0px auto 10px; text-align: center; width: 1024px;" /></a></div> Bedroom: Peter Kick custom designed the flowers for the headboard, curtains and night stand, as well as the table. <a href="http://www.peterklick.com/">Peter Klick</a> received his Bachelor of Science in Classical Furniture and Fine Work Working at the Allgemeine Gewerbeschule in Basel, Switzerland after a four year hands-on apprenticeship. He continued his education at the legendary Staatlichen Akademie der Bildenden Künste in Stuttgart, Germany where he received a Master of Arts in Interior Architecture. For the next five years, Klick worked as an Interior Architect for Venzin AG where he designed, constructed and remodeled more than 200 boutique and retail stores, offices, homes and restaurants in Switzerland. Klick’s extensive experience led him to establish his own firm, <a href="http://www.peterklick.com/">Klick Interiors</a>, which launched in 1985. Since its launch, Klick Interiors has enjoyed a wide range of international projects ranging from an innovative classroom design for a prestigious Catholic School in Chicago to the complete interior redesign and construction of a historic 100 year old villa in Switzerland. Klick Interiors clients have included Interhome, Utoring, Hotlelplan, UBS, Swatch, Seipp and many others.Now based in Chicago, Illinois, Klick works as a Program Coordinator and instructor of Interior Design at the renowned <a href="http://www.harrington.edu/">Harrington College of Design</a>. Passionate about passing along his experience to senior-level Bachelor of Science students in Interior Design, Klick remains very active in the Interior Design industry, and continuously travels throughout the year to the latest Interior Design exhibits, shows, conferences and experimental design studios. Klick Interiors specializes in residential and commercial projects throughout Europe and USA. Please visit <a href="http://www.peterklick.com/">Klick Interiors here</a> ------------------

A conversation with Peter Klick

Since basements usually have only a few windows, if any, they are great spaces to design. As if to design in a shoe box… " - Peter Kli...

10:37 AM

thegreatadventure2015 decoration

a conversation with Bec Brittain

Rose Tarlow

A conversation with Peter Klick

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